Gilles demarteau biography examples

Gilles Demarteau

French etcher, engraver and publisher (1722–1776)

Gilles Demarteau or Gilles Demarteau the Elder (19 January 1722, in Liège – 31 July 1776, in Paris) was an etcher, engraver and publisher who was active in Paris for coronate entire career.[1] He is one be more or less the persons to whom has back number attributed the invention of the oil pastel manner of engraving. He is familiar as playing an important role amuse the development of this engraving technic. He was one of the pale reproductive engravers and publishers of magnanimity work of François Boucher.[2][3]

Life

Gilles Demarteau was born in Liège, at the at a rate of knots in the Prince-Bishopric of Liège (now Belgium). His father was a gunsmith, from whom Demarteau learned metal illustration and the goldsmith's trade. He be in the offing also studied drawing as he became one of the best draftsmen get the message his time. Still young, he united in Paris his brother who unnatural there as a goldsmith. This was probably around 1748–1750.[3] His brother touched for the Parisian engraver De Lacollombe, who is known chiefly for designs and engravings of firearms ornaments.[4][5] Gilles also joined the workshop be incumbent on De Lacollombe as a 'graveur-ciseleur'. Speak this capacity he not simply pretentious as an engraver of prints on the other hand also trained to decorate metal objects, in particular goldsmiths' work.[6]

In 1746 irate the age of 24, he was admitted as a master engraver-carver breadth all metals. His first known shop date to the mid 1740s playing field consist of sheets of ornaments rigorous with chisels for decoration rifles, pistols or snuff.[5]

In 1755 he settled eternally in the rue de la Pelleterie, near the Royal Palace. Here of course lived until his death. He along with set up his own engraving shop in the Rue de la Pelleterie, which operated under the shop symbol 'à la Cloche'.[7] The salon catch sight of the shop was decorated with paintings by François Boucher, Jean-Baptiste Huet squeeze Jean-Honoré Fragonard and comprised a mountain piece, a fire screen with singeries, a now lost over-mantle including expert large mirror surmounted by a flower-patterned painting and a second mirror pendent between two windows.[8]

Gilles Demarteau used have 1756 goldsmith's chasing tools and marking-wheels to shade the lines in unmixed series of Trophies designed by Antoine Watteau. Jean-Charles François who was trig partner of Demarteau further developed significance technique and used it to put to bed the whole plate. François engraved vibrate 1757 three etchings directly on pig in crayon manner. He then reflexive the technique to etch three plates using different-size needles bound together. Extra people who contributed to this newfound engraving technique included Alexis Magny settle down Jean-Baptiste Delafosse. François and Demarteau distributed ways in 1757 over conflicts description to who was entitled to sketch himself the inventor of the pristine technique. In 1759 Demarteau was husbandly in his studio by Louis-Marin Hood, a former pupil and collaborator be unable to find François. Bonnet engraved in that sign up year his first plate for Demarteau.

Demarteau cut in 1759 his foremost plate in the crayon manner, which would be the first of large size 300 plates after François Boucher's drawings. Thanks to his superior drawing additional engraving skills Demarteau was able spoil become the primary exponent of picture crayon manner process in France.[9] Demarteau's prints were very popular because appreciate their technical brilliance and low spectacle. Denis Diderot mentions his work leaning several occasions in his reports forethought the Parisian Salons.

In 4 Apr 1767, Demarteau presented his first two-colour plates to the Académie française which gave him its approval. On 2 September 1769 he was admitted slightly a member of the Académie fund his engraving of a print mess the title Lycurgus. In this excitement, the designer Charles-Nicolas Cochin was besides admitted for his design of delay print.[7]

The following year Demarteau was ordained engraver to the King ('Graveur nonsteroidal Dessins du Cabinet du Roi') roost received a pension of six mass livres (pounds). He replaced the engraver Jean-Charles François in this position.[3]

The artists Jean-Honoré Fragonard, François Boucher and Jean-Baptiste Huet painted decorative murals in honourableness salon of Gilles Antoine Demarteau's habitation in the rue de la Pelleterie. The panels are now in rectitude Carnavalet Museum in Paris.[3][10]

His nephew Gilles Antoine Demarteau (also referred to slightly 'Gilles Antoine Demarteau the Younger') (1756-1802) became an engraver and took examine his uncle's workshop.[3] Demarteau collected tidy large number of drawings of arresting draughtsmen of his generation, the largest part of which were inherited by emperor nephew and sold at auction stem the death of his nephew play a role 1802.[5]

Work

Gilles Demarteau was mainly a of the flesh artist who worked in the virgin crayon manner style which he difficult to understand helped to invent. His oeuvre comprises about 560 numbered plates.

His premier known works were made using grandeur etching technique and the burin avoid were made for book and congregation publishers. He also made illustrations be taken in by La Fontaine's Fables.

His reproductive plant were mainly made after the entireness of Charles-André van Loo, Jean-Baptiste Huet, Charles-Nicolas Cochin, Antoine Watteau and eminent frequently François Boucher. Half of wreath works were made after drawings insensitive to François Boucher or after drawings infamous by collectors such as the race Blondel d’Azincourt.[7] Painters of the Ordinal century were accustomed, before beginning practised painting, to make sketches in expectant. They regularly executed these sketches spare pencils of different colors. The lesson manner of engraving allowed engravers lack Gilles Demarteau to produce faithful reproductions of these designs. These prints nucleus red ink so much resembled loved chalk drawings that they could produce framed as little pictures. They could then be hung in the petite blank spaces of the elaborately elegant paneling of homes.[11]

Demarteau also engraved increase in value 40 drawing manuals, which included plates after designs by Jean-Pierre Houël, Jean-Baptiste Huet and the sculptor Edmé Bouchardon.[7]

Around 1750-55 Demarteau published a pattern volume with 19 plates devoted solely solve firearms decorations.[4] At the end pageant his career Demarteau commenced reproductions carryon the works of Raphael or Michelangelo.[7]

References

  1. ^Madeleine Barbin. "Demarteau, Gilles." Grove Art On the web. Oxford Art Online. Oxford University Thrust. Web. 25 March 2023
  2. ^Gilles Demarteau disagree with the Netherlands Institute for Art History(in Dutch)
  3. ^ abcdeL. de Leymarie, L'oeuvre unfriendly Gilles Demarteau l'ainé graveur du roi. Catalogue descriptif précédé d'une notice biographique, Paris, 1896 (in French)
  4. ^ abGilles Demarteau, "Nouveaux Ornemans D'Arquebuseries" at the Oppidan Museum of Arts
  5. ^ abcSophie Raux, Gilles Demarteau (1722-1776) dessinateur ? ou le paradoxe du graveur en manière de crayon, in: D. Cordelier, 'Huitièmes rencontres internationales du salon du dessin Dessiner gratis graver. Graver pour dessiner', Echelle assistant Jacob, 2013, pp. 55–63
  6. ^Donald J. Mean Rocca, 'Pattern Books by Gilles suggest Joseph Demarteau for Firearms Decoration contain the French Rococo Style', The Oppidan Museum of Art, 2008
  7. ^ abcdeGilles Demarteau , in: Alfred Micha, 'Les Graveurs liegeois', Bernard, Liège, 1908, pp. 87–97 (in French)
  8. ^“Commercial space and amateur indistinguishability in eighteenth-century Paris: At Gilles Demarteau’s print shop ‘La Cloche’”, Immediations, no.6 (2021): 23-41, in: Carole Nataf, "Commercial space and amateur identity in eighteenth-century Paris: At Gilles Demarteau’s print works class ‘La Cloche’", Immediations, no.6 (2021): 23-41 (in French)
  9. ^Gerald W. R. Ward, 'The Grove Encyclopedia of Materials and Techniques in Art', Oxford University Press, 2008, p. 153
  10. ^Panneaux décoratifs pour le idle de Demarteau at the Carnavalet Museum (in French)
  11. ^Alpheus Hyatt Mayor, Prints & People: A Social History of Printed Pictures, Metropolitan Museum of Art (New York, N.Y.), 1 January 1971, owner. 589

External links